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Cool architect company does kite designs

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Cool architect company does kite designs

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https://www.freelandbuck.com

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Illustrator/ graphic designer
http://www.jeremy-booth.com/

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pop art (crying women with dots)

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LOVEEE (Αντα)
pop art Neo-expressionism, Pop art, Street art, Contemporary art

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cool big pieces of latex painted black
and other feminist things

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sad lady with pretty pastel minimalist paintings

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Laszlo Moholy-Nagy ( minimalists w/plain colours)

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Laszlo Moholy-Nagy ( minimalists w/plain colours)

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https://www.google.com.ph/search?q=Lucio+Fontana&source=lnms&sa=X&ved=0ahUKEwj_-MaCj_jYAhWEjZQKHdqJB38Q_AUICSgA&biw=1109&bih=614&dpr=1

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https://www.google.com.ph/search?q=dan+mountford&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjD4NS-tNvYAhUHGZQKHVH8ANAQ_AUICigB&biw=1435&bih=731

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https://www.instagram.com/tsurufoto/

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https://www.instagram.com/scientwehst/

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http://www.kleinsungallery.com/artists/li-hongbo

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Λουκάς Σαμαράς

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photographer.
women around the world

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Αλεκος Φασιανος

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Αλεκος Φασιανος

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https://gr.pinterest.com/pin/224687468892973457/

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https://gr.pinterest.com/pin/119767671316308371/

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https://gr.pinterest.com/pin/402650022928525607/

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https://gr.pinterest.com/pin/525091637794454098/

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https://gr.pinterest.com/pin/38913984264710459/

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black and white face paint

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https://www.pablopicasso.org/guernica.jsp

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https://www.pablopicasso.org/guernica.jsp

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Does body painting making it look like an oil painting.
(also paints on clothes to keep texture)

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compare picasso and mondrian

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got inspo from a friend in greece that did body painting on herself

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got inspo from egon bc he explores the beauty of the human body something that i want to also do for my who am i piece.

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Arnulf Rainer (born 8 December 1929, in Baden, Austria), is an Austrian painter and is internationally renowned for his abstract informal art.

During his early years, Rainer was influenced by Surrealism. In 1950, he founded the Hundsgruppe (dog group) together with Ernst Fuchs, Arik Brauer, and Josef Mikl. After 1954, Rainer's style evolved towards Destruction of Forms, with blackenings, overpaintings, and maskings of illustrations and photographsdominating his later work. He was close to the Vienna Actionism, featuring body art and painting under the influence of drugs. He painted extensively on the subject of Hiroshima such as it relates to the nuclear bombing of the Japanese city and the inherent political and physical fallout.

In 1978, he received the Grand Austrian State Prize. In the same year, and in 1980, he became the Austrian representative at the Venice Biennale. From 1981 to 1995, Rainer held a professorship at the Academy of Fine Arts in Vienna - the same place where he aborted his own studies after three days, unsatisfied.

His works are shown in the Museum of Modern Art and the Solomon R. Guggenheim Museum. As the culmination of the appraisal of his work, the Arnulf Rainer Museum opened in New York City in 1993. His works have also continuously been shown at the European Cultural Centre's palazzos in Venice during the Biennale since 2011. In the same year, he published the work Unfinished into Death (ISBN 9789490784072) with the same organisation.

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She was a gifted child and as a young adult was inclined to become a writer. After taking an art class taught by Lorser Feitelson at the Stickney Memorial School of Art in Pasadena, however, Lundeberg was inspired to pursue a career as an artist.
With Lorser Feitelson in 1934, Lundeberg founded Subjective Classicism, better known as Post Surrealism. Unlike European Surrealism, Post Surrealism did not rely on random dream imagery. Instead, carefully planned subjects were used to guide the viewer through the painting, gradually revealing a deeper meaning. This method of working appealed to Lundeberg's highly intellectual sensibilities.

Themes of Post Surrealism continued in Lundeberg's paintings until the 1950s, when she began to explore geometric abstraction. Always based in reality, Lundeberg created mysterious images that exist somewhere between abstraction and figuration. Repeatedly described as formal and lyrical, Lundebergís paintings rely on precise compositions that utilize various restricted palettes. This creates images that posses a certain moodiness or emotional content unique to her work.

In the 1960s and 1970s, Lundeberg continued her journey through abstraction, exploring imagery associated with landscapes, interiors, still-lifes, planetary forms and intuitive compositions she called enigmas. In the 1980s, Lundeberg created her final body of work - a confident series of paintings that deal with landscapes and architectural elements. Throughout her 60-year career, Lundeberg imbued her work with a personal vision, exposing the imaginative world of her mind.

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With his signature graphic style, embrace of figural distortion, and bold defiance of conventional norms of beauty, Egon Schiele was one of the leading figures of Austrian Expressionism. His portraits and self-portraits—searing explorations of their sitters' psyches and sexuality—are among the most remarkable of the twentieth century. The artist, who was astoundingly prolific during his brief career, is famous not only for his psychologically and erotically charged oeuvre but for his intriguing biography: his licentious lifestyle marked by scandal, notoriety, and a tragically early death of influenza at age twenty-eight, three days after the death of his pregnant wife, and at a time when he was on the verge of the commercial success that had eluded him for much of his career.

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Synopsis

With his signature graphic style, embrace of figural distortion, and bold defiance of conventional norms of beauty, Egon Schiele was one of the leading figures of Austrian Expressionism. His portraits and self-portraits-searing explorations of their sitters' psyches and sexuality-are among the most remarkable of the twentieth century. The artist, who was astoundingly prolific during his brief career, is famous not only for his psychologically and erotically charged oeuvre but for his intriguing biography: his licentious lifestyle marked by scandal, notoriety, and a tragically early death of influenza at age twenty-eight, three days after the death of his pregnant wife, and at a time when he was on the verge of the commercial success that had eluded him for much of his career.

Key Ideas

Schiele's portraits and self-portraits helped re-establish the vitality of both genres with their unprecedented level of emotional and sexual directness and use of figural distortion in place of conventional notions of beauty. Frequently depicting himself or those close to him, Schiele's portraits often present their sitters in the nude, posed in revealing, unsettling angles-frequently viewed from above-and devoid of secondary attributes often depicted in the portrait genre. At times, Schiele used traditional motifs, giving the intensely personal images a more general, allegorical statement on the human condition.

Creating some three thousand drawings over the course of his brief career, Schiele was both an extraordinarily prolific and unparalleled draughtsman. He regarded drawing as his primary art form, appreciating it for its immediacy of expression, and produced some of the finest examples of drawing in the twentieth century. Even his painterly oeuvre revealed a style that captured some of drawing's essential characteristics, with its emphasis on contour, graphic mark, and linearity.

Painter Gustav Klimt was the primary influence on Schiele's development, serving as Schiele's friend and mentor. While Schiele inherited Klimt's focus on erotic images of the female form (and shared Klimt's insatiable sexual appetite), the emotionally intense, often unsettling Expressionist idiom Schiele eventually developed, with its investigation of his sitters' inner life and emotional states, in some ways directly opposed his mentor's Art Nouveau-inspired style, with Klimt preferring a more brilliant palette and glimmering, patterned surfaces.

Most Important Art

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Egon Schiele Artworks in Focus:

Egon Schiele Overview Continues Below

Biography

Childhood

Egon Schiele with his sisters Melanie and Gerti

Egon Schiele was born into modest means in Tulln an der Donau ("on the Danube"), a small but vibrant Austrian town also known as Blumenstadt, or "city of flowers." He was the third child born to Adolf Schiele, who worked as a stationmaster for the Austrian State Railways, and Marie Soukupova, who originally hailed from the Bohemian town of Cesky Krumlov (Krumau), now the site of the Egon Schiele Art Centrum, a museum dedicated primarily to the artist's work. Schiele had two older sisters, Melanie and Gerti (Gertrude), the latter of whom often modeled for Schiele and eventually married Schiele's close friend, the painter Anton Peschka.

Although Schiele was never a prolific student, one of his primary school arts instructors recognized a natural gift for draughtsmanship in Schiele and encouraged him to pursue formal training. Following his father's death from syphilis, and having been placed under the guardianship of his uncle and godfather, Leopold Czihaczek, in 1906 Schiele enrolled in Vienna's Akademie der bildenden Kunste (Academy of Fine Arts), which Gustav Klimt had also attended.

Early Training

Egon Schiele's Self Portrait with Long Hair (1907)

In 1907, Schiele sought out Klimt, whose work he already greatly admired, and the two quickly formed a mentor-mentee relationship that would have a major impact on the young artist's early development. Klimt not only exerted his influence over Schiele in the studio, but also in introducing Schiele to patrons, models, and the work of other artists-such as Vincent van Gogh, Edvard Munch, and Jan Toorop-about whom Schiele, despite being a devoted art student, had little occasion to learn, given Vienna's relative isolation from European avant-garde movements during this time. Through Klimt, Schiele was also introduced to the Wiener Werkstätte, the arts and crafts workshops of the Vienna Secession, a movement that had close ties to other modern art styles of the period.

In 1908, when Schiele was eighteen, he participated in his first exhibition, a group showing in Klosterneuburg, a small town to the north of Vienna. The following year, Schiele and a few fellow students left the Academy in protest, citing the school's conservative teaching methods and its failure to embrace more forward-thinking artistic practices that were sweeping through Europe. As part of this rebellion, Schiele founded the Neuekunstgruppe (New Art Group), composed of other young, dissatisfied artists defecting from the Academy.

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Egon Schiele Biography Continues

The new group didn't waste any time, holding several public exhibitions throughout Vienna, all the while Schiele was exploring new modes of painterly expression, favoring distortions and jagged contours of form and a more somber palette than that of the more decorative and ornate Art Nouveau style. Essentially, Schiele was gradually distancing himself from the style popularized by Klimt, although the two men would remain close until Klimt's death in early 1918. If the content of Schiele's work is any indication, it appears that the mentor and mentee shared an insatiable appetite for women.

Mature Period

Shortly after forming the Neuekunstgruppe, Schiele began enjoying modest success as a painter and draughtsman, and in 1911 he had his first solo exhibition, at Vienna's Galerie Miethke, where the artist's increasing penchant for self-portraiture and sexualized-often approaching lewd-studies of young women were on display. Schiele's early studies were also controversial for his occasional use of children as nude models; that same year, Schiele lived briefly in his mother's hometown of Krumau in Southern Bohemia, where his practice of having young children visit his studio attracted disapproval from the local townspeople.

The following year was a crucial one for Schiele, both personally and artistically. In addition to participating in a number of group exhibitions-in Budapest, Cologne, and Vienna-Schiele was invited by Galerie Hans Goltz in Munich to show his work alongside members of the Der Blaue Reiter group of Expressionists, which included Wassily Kandinsky, Franz Marc, and Alexej von Jawlensky. Among Schiele's works at this time was his most famous Self-Portrait with Chinese Lantern Plant (1912), a captivating study of the artist, his face and other features replete with lines, scars, and subtle deformities. The Goltz show provided Schiele with his greatest exposure to date, revealing his rich use of personal symbolism and dark allegory to the public.

Schiele in front of Encounter - a painting not preserved (1914)

Also in 1912, while living in the Austrian town of Neulengbach, Schiele was arrested at his studio and imprisoned for twenty-four days, accused of seducing and raping an underage girl (as in Krumau, Schiele's workplace had once again become a refuge for many of the town's children, attracting outrage from local residents). These charges were eventually dropped, and he received a lesser charge of creating immoral and "pornographic" drawings of his girlfriend, Wally Neuzil, eighteen years old at the time. Schiele subsequently ceased his practice of using children as models, although the morbidity and sexual explicitness of his work-particularly in his drawings-appears to have increased following his release from prison.

Later Years and Death

Egon and Edith Schiele with her nephew (1915-16)

Even with the outbreak of World War I, Schiele's artistic output did not change all that drastically. In 1914, the artist enjoyed a very prominent solo show at Vienna's Galerie Guido Arnot, in addition to a number of shows in other cities, and the following year he left Wally Neuzil to marry Edith Harms, a young woman of good social standing. Schiele's new wife evidently had a maturing effect on his work, as seen in pieces like Lovers (1914-15) and Death and the Maiden (1915), which suggest a deeper understanding of and appreciation for narrative and traditional portraiture.

Schiele was eventually conscripted into military service four days after his marriage. However, he never saw any real combat throughout the war's duration, and instead was allowed to continue practicing his art and exhibiting wherever he was stationed. Inspired by his wartime travels, Schiele produced a number of land- and cityscapes around this time, devoid of the artist's usual exaggerated contours.

Schiele on his deathbed (1918). Photograph by Martha Fein

By 1917, Schiele was back in Vienna and hard at work. That same year, he and Klimt co-founded the city's Kunsthalle (Art Hall), a new exhibition space designed to encourage Austrian artists to remain in their homeland. The following year, both poignant success and tragedy visited the artist in many forms. In February, a stroke and pneumonia claimed the life of his mentor and friend, Klimt. Just one month later, the Vienna Secession held its forty-ninth annual exhibition and devoted the main exhibition space to Schiele's work, making the affair a great commercial success. In October, his wife, Edith, six months pregnant, succumbed to the Spanish flu pandemic sweeping through Europe at the time, which claimed Schiele's life just three days later, dying at age twenty-eight. In the three days between their respective deaths, Schiele produced a number of sketches of his late wife.

Legacy

The confident face of Egon Schiele

Despite Egon Schiele's short life, the artist produced an astonishing number of works on canvas and paper. He was instrumental in formulating the character of early twentieth-century Expressionism, characterized by the use of irregular contours, an often somber palette, and frequently dark symbolism. Unlike his mentor, Klimt, with whom Schiele's name remains most commonly associated, he produced a great number of self-portraits, suggesting a preoccupation with the self on a par with the likes of Picasso. Schiele's aesthetic greatly influenced both Expressionist contemporaries like Oskar Kokoschka, as well as Neo-Expressionist successors as varied as Francis Bacon, Julian Schnabel, and Jean-Michel Basquiat.

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Egon Schiele Biography, Art, and Analysis of Works

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With his signature graphic style, embrace of figural distortion, and bold defiance of conventional norms of beauty, Egon Schiele was one of the leading figures of Austrian Expressionism. His portraits and self-portraits-searing explorations of their sitters' psyches and sexuality-are among the most remarkable of the twentieth century.